Jay-Z - The Black Album

Between 1996 and 2002, Jay-Z made a dizzying ascent to the top of the rap game, going from emerging boom-bapper to pioneer of the jiggy movement, to the man that bought the Dirty South to the forefront of the genre, to veteran and legend by the time The Blueprint was released in 2001. He proved his cemented status in hip-hop in 2002 when a collaborative album with newly-exposed-as-a-paedophile R. Kelly and a bloated mess of a double album both had his name on, and he still was considered one of the greatest active MCs in the game. Even being on the receiving end of one of the best and most brutal diss tracks in history couldn't stop him. By the time 2003 came around, Jay-Z realised that the only man who could realistically end his career was he himself, and since he was getting a bit long in the tooth for this rap shit by then, he decided it was time to retire. Therefore, he announced his final album, a project which would return to a humble one disc format (thank God), and have the interesting concept of different producers for every track (which was almost the case, although not entirely). The Black Album.

This was the first Jay-Z album to have no featured rappers whatsoever, and was also one of his most successful projects to date - hell, my geography teacher made reference to the track "99 Problems" a few weeks ago, and that wasn't even the lead single. I myself didn't really like this disc on first listen, though. I can't really remember why, as this was a long ass time ago, but I think I just didn't feel it's vibe. In all fairness Jay's was the third hip-hop discography I listened through after Eminem and 50 Cent, so I wasn't exactly ready for a lot of his work at the time, but even so the only track I remember enjoying on that first listen was the last track. However, the album grew on me overtime, and nowadays I think I can safely say that this is my absolute favourite Jay-Z album. Yes, above The Blueprint, and yes, above Reasonable Doubt. Maybe it's the thought that this was his final album, and the epic connotations that come with that. Maybe it's the diversity of producers, or the array of classic Jay-Z songs that are in more abundance than ever before. Whatever it is, this one edges it to the top of my list every time.

And now I get to review it! I realise it's been a while since I've done a Jay album on here, partly due to the heinous allegations levelled at him a few months ago, partly due to me trying to not review too much in case I run out of albums. But since he seems to have been cleared, and since I really, truly believe he is innocent in this, I figure it's time to bring his name back to the blog. Let's get into this one, then. 

L'album, noire. The Black Album.

1. Interlude (prod. Just Blaze)

Given that this was supposed to be his last album, Jay-Z decided that he may as well get the one thing he'd never done before out of the way while he still could - a rap album intro, complete with spoken word and a great instrumental that will sadly never be rapped over. Still, the instrumental really is "great", so this is enjoyable enough. 

2. December 4th (prod. Just Blaze)

The first song on this album serves as an autobiographical cut that aims to explain Jay's younger days as a drug dealer, why he got into that profession, and also how he managed to get out through hip-hop. Just Blaze's triumphant instrumental is fitting and poignant, and I absolutely love the interludes from Hov's mother - but it's Jay himself who makes this opening song as brilliant as it is. Aside from one or two cuts, I don't think the man has ever been as lyrically invigorating and engaging with his storytelling as he is here, and he uses his unique delivery to full effect too in order to give the audience as many quotables as possible. The track also introduces a common theme on The Black Album, referencing classic hip-hop tracks Jay grew up listening to - here it's Cypress Hill's "Insane In the Membrane". The verses are brilliant, but perhaps the best moment of this song is the outro, with Jay's echoes of "maybe you'll love me when I fade to black", leaving the listener sad, but also proud for this man who has had such a successful career despite humble beginnings. This track really makes you root for Jay-Z, and not only that, it sounds great too. I'm a massive fan of this one. 

3. What More Can I Say (prod. The Buchannans)

Over more horn-filled, triumphant production, Jay gets into explaining exactly why he deserves to retire - he's a brilliant rapper and he's made his fortune, so what else is left to do? This track is really just another classic Jay joint, filled with line after line of quotables - "I'm not a biter, I'm a writer for myself and others / I say a Big verse I'm only biggin' up my brother" - was there a better way to address those accusations? The line about Busta Rhymes is also pretty interesting, as is the subliminal to 50 Cent, and there's a bunch of others I could name too. This isn't my favourite on the album, as I'm not the biggest fan of the sung chorus from "Hum-V", but Jay's verses and the brilliant instrumental are quite enough for me to name this a great track. 

4. Encore (prod. Kanye West)

Yet another anthemic, brass-fueled instrumental accompanies Jay on this one, only now it's produced by a young Kanye West, and feels faster paced than the previous two as a result. This track is one of the more creatively structured on the album, what with it's live setting, amalgamation of backing vocals and an interlude which portrays an actual encore - but this is just one of the reasons why it's so brilliant. Not that it's short of those: the instrumental from Kanye is as fantastic as you might expect from him in 2003, and Jay's lyrics are motivational and exude masses of confidence, which is exactly the intention. This is simply a brilliant song. 

5. Change Clothes (prod. The Neptunes)

The lead single to this album, in the same vein as "Excuse Me Miss" in that it's a track for the ladies where Jay paints himself as a gentleman - only here it's even more convincing. Also, this song is just better. The Neptunes craft a wonderfully relaxing and very early 2000s beat for this one that really sounds nothing like the last three tracks, and it's the perfect match for Hov's lyrics about being the best rapper and pulling some chick. Sure, it's shallow, but it's the lead single so whatever. I also love the chorus from Pharrell Williams, and Jay's "so necessary" bridge is a surprising earworm. I know a lot of people think this one is a blemish on the album, but personally I'm a massive fan. 

6. Dirt Off Your Shoulder (prod. Timbaland)

Probably the nastiest beat Timbo has ever concocted, and some of the slickest rhymes and flows Hov ever spit. I mean, does it get much better than this? The waving synths, the main loop and the drums on this instrumental are all fire as fuck, and Jay's verses are as easy to learn off by heart as the alphabet, which is meant as a compliment by the way. The lyrics are pretty similar to what we've heard previously on the record, with some lyrics about drug dealing, cooking cocaine, being rich and successful, etc. etc.... but it still works, and Hov's extra swagger with his flow certainly helps this one stand out a lot. And what about that chorus, man?? One of the most memorable in all of hip-hop history. This might well be the definitive Jay-Z banger. Classic stuff.

7. Threat (prod. 9th Wonder)

Arguably the most underrated track on here in my opinion, this one is actually produced by 9th Wonder, who I've covered on here many times before thanks to his frequent work with one of my favourite underground rappers Murs. Don't ask me how this collaboration with Jay-Z came about though - it wasn't like 9th was a hugely sought after producer back in '03, and it wasn't til '04 and '05 when he made a name alongside Murs and Little Brother. Still, he shows a lot of promise on here, with an aggressive and, well, threatening instrumental with a great melody and nice female vocal sample. Jay-Z's rapping is also arguably the best it has been on this entire album so far, with the aggressive lyrics and silky smooth flow complementing the beat perfectly. This is top tier stuff. Also, Cedric the Entertainer is pretty funny on here. 

8. Moment Of Clarity (prod. Eminem, add-prod. Luis Resto)

I guess Jay-Z didn't like that Eminem produced a record on Nas' 2002 album God's Son without rapping on it, so for The Black Album he decided to get the same thing, regardless of the fact that Eminem isn't actually a very good producer - outside of his own albums his beats are all a bit drab and plodding for my tastes. This one is solid though, I guess, with a nice pounding bassline, even though it still drags on a bit - Jay-Z is left to make something out of it, and somehow he enhances this instrumental a million times with one of his best performances on the entire album. The chorus utilises the names of all of his studio efforts up to that point, which is absolute heaven for nerds like me - one of my pet peeves is when artists ignore the existence of their past albums. And on top of that, every verse is incredible too, painting a picture of Jay's realisation of his status in the rap game, and how exactly he rose to that point. The infamous lines about Common and Talib Kweli also appear on here, and to me those are definitely compliments - he's basically saying that he sold out, unlike them. As I said, the beat on this track isn't brilliant, but everything else about it certainly is. 

9. 99 Problems (prod. Rick Rubin)

Simply put, one of the best hip-hop songs in existence. Jay-Z takes Ice-T's original hook and puts it over some energetic, Beastie Boys style production from Rick Rubin, and then laces that with three of the most memorable verses of his entire career, the second which is his best ever in my personal opinion. I mean, this guy literally had a conversation with a police officer within his verse. It's just phenomenal, not to mention as memorable as waking up to someone breaking into your house (I say that because I had a suspicion someone had last night, but they hadn't (checks under bed for the tenth time)). That's not to discredit the other two verses either, because they are both full of quotables and classic Jay flows that are timeless and some of his best. Honestly, this might just be the best Jay-Z song full stop, and with that iconic of a chorus it's certainly one of his biggest. This song is the fucking shit!!!

10. Public Service Announcement (Interlude) (prod. Just Blaze)

Notable for its recent appearance in a Google advert that popped up all over TV recently. Also, because it's one of the greatest "interludes" of all time. I use quotation marks because this isn't really an interlude at all - instead, it's a two verse wonder (yes I just made that up) from Hov spit over one of the most iconically brilliant Just Blaze instrumentals of all time, and with one of the best opening lines in hip-hop history just for it's legendary status - "allow me to reintroduce myself, my name is Hov!". The tension built before this entrance is also perfect, and the line deserved every bit of that. Matter of fact, so did the song. This is unbelievably good. 

11. Justify My Thug (prod. DJ Quik)

Probably the only song on here that seems to be divisive in Jay's fan base, which I kind of understand given the dodgy Madonna interpolation on the hook - but still, can you really argue with that beat? DJ Quik's instrumental on this one absolutely bangs, with incredible synths and bass, and a perfectly placed Run-DMC sample that adds an almost creepy vibe to the track. And while Jay's opening lines are weirdly repetitive and completely irrelevant, he flows over the beat pretty well afterwards, and has some nice lines within his verses too - especially the second one, for sure the best here. Even if the hook probably should have been re-written, I'd say this is a decent attempt at a West Coast banger - and is certainly a hell of a lot better than "Get Your Mind Right Mami", his last Westside collaboration. 

12. Lucifer (prod. Kanye West)

Kanye's second effort on here certainly isn't quite good as the first in my opinion (which I appreciate will rile people up, and I understand), but it's still decent - I just think the samples and main instruments are a little... weird? They just don't feel like they fit the vibe of the album. However, I think that Jay-Z helps the track's case by dropping three incredible verses and a surprisingly catchy bridge that keeps this short track's quality in line with everything else on the album. I especially love the last verse, and specifically the last line poking fun at the belief that a Christian's wrongdoings are the Devil's, not theirs. As I said, I don't love the beat personally, but I do really enjoy Hov's performance - it's for sure one of the best here. 

13. Allure (prod. The Neptunes)

Alongside Kanye, The Neptunes are the only production outfit to get more than one credit on this LP, and I'm happy with that, as their contribution to this track is absolutely bloody lovely. I remember that when I was first listening to Jay-Z's music, this was actually my least favourite song on the album, but I can only imagine the reason was that I never payed enough attention to it and kept forgetting it - because now it's comfortably one of my favourites. Not only is the instrumental beautiful, but the rapping from Jay-Z is perfect, with a lot of reminiscent and regretful lyrics about drug dealing - and his delivery of the chorus is simply perfect. If this isn't Jay-Z at his finest, then I don't know what is. It's an absolute classic. 

14. My 1st Song (prod. Aqua & Joe "3H" Weinberger)

Ironically intended to be the very final song Jay-Z ever released - when you listen to the chorus and realise that fact you'll get goosebumps whether you like it or not, trust me. In contrast to the last song, this was my favourite track on the album on first listen, but since then it's ever so slightly grown off me, even if I still enjoy it. I mean, Jay's double time flows may have worked for him when he was young and hungry for a deal, but here he often doesn't sound entirely comfortable, and on top of that the extended outro where Jay announces he's going "golfing", before acting like ordering a cheap coffee is a massive treat, makes me not want to play this song as much outside the context of the full album. Still, the negatives don't outweigh the positives to any extent here - this beat is incredible, Jay's falsetto in the hook is surprisingly not awful, and the lyrics and chorus are compelling no matter how they're delivered. This is not only a great song, but a fitting way to close out Jay's impressive eight year run. Although maybe it would hold more weight still, had the retirement lasted for more than three guest-appearance filled years... 

It's no wonder that this project is frequently mentioned among some of the best hip-hop projects of the 2000s. The Black Album is incredibly diverse both musically and lyrically, meanwhile being equally consistent in its quality throughout the runtime, and ending exactly when it needed to around the 55 minute mark. This project contains probably the best track run in the Jay-Z catalogue from "Encore" to "Public Service Announcement", and even either side of that there's very little in the way of faults to be found. Oh, the choruses on "What More Can I Say" and "Justify My Thug" are kind of annoying. Oh, the beat on "Lucifer" is out of place. Oh, Jay-Z admitted to being a sellout. These are tiny nitpicks that are ants when put next to the monstrous levels of quality presented elsewhere in this album. You'd think a song like "99 Problems" would be an easy standout on whatever album it appeared on, but for me there's an argument for it not even making the top three of this LP - I mean it is competing with "Encore", "Dirt Off Your Shoulder", "Threat", "Allure" - I could keep going. And I also love the layout of this project, with (almost) every song with a different producer behind the boards - it allows Hov to both revel in what he's used to with Timbaland, Just Blaze, Kanye and The Neptunes, as well as experiment and work joys with the sounds of new producers to him, like 9th Wonder, Rick Rubin and DJ Quik. And for my money, this is the best Jay-Z has rapped ever. He sounded ever so slightly more comfortable on his first two albums, sure, but here he masters the swagger and confidence that has defined much of the man's music up to this point in his career. This isn't just one of the best Jay-Z albums, and a personal favourite for me - it's one of the best artistic statements in the genre full stop, and when it came to send offs, it couldn't possibly have got much better than this. There was only one problem...

Enter: Kingdom Come

Best Tracks: hmm... let me think about that...

Worst Tracks: Oh, come on. Are you kidding??

Catch up on quite a few more Jay-Z reviews I've written here.

Murs-athon pt. 16 - Have a Nice Life

Damn I haven't done one of these in a while.

I mean, it's not like I've fallen out of love with Murs' music or anything - since late September when I last covered a new Murs album on this blog (Jesus that feels like years ago) I've still been bumping quite a bit of his music from time to time, especially tracks from the first two 9th Wonder collabs, which still hold up as incredible projects. I think the main reason for me not listening to any of his new albums is simply that it was all becoming a bit samey. Murs was releasing so much music in the early 2010s, and with his flow being admittedly quite set in stone, and his lyrical content frequently teetering on the edge of corny while just maintaining more of a sense of relatability, it really just came to the point where I liked what he was making, but never really felt much urge to come back to it. I think having a long break from the Murs-athon was a good idea, as it means his style will seem more fresh to me now. Hopefully, since it was three years since The Final Adventure and the project we're covering today, it'll be more fresh for him too, but I won't get my hopes too high on that front. 

The hilariously titled Have a Nice Life is the 16th (!) project I'll be covering in the Murs catalogue, but make no mistake this is no regular release for the guy. Because in 2014, after switching between labels as fast as he was random collaborators for different albums (half of which I didn't even cover), Murs struck up a three album deal with Strange Music, the label headed by one of my favourite rappers of all time, Tech N9ne. This led to three appearances from Murs on Tech's Collabos project Strangeulation, and I still remember the first time I heard Murs' performance on "Hard (A Monster Made It)", incidentally the first Murs performance I heard full stop. I was blown away, as I'm sure a lot of Tech's (at this point) large fan base were as well. For an introduction to a completely new set of fans who would never have dreamed of checking him out before, this verse was phenomenal, as were his other two performances on the project. This meant that Have a Nice Life became one of Murs' most anticipated projects up to this point, and when it was released in May 2015 it charted at no. 94 on the Billboard Hot 100 - his first to land on the chart at all since 2010's Fornever. And this is without a single Strange Music artist even landing a feature - the only name I recognise on the back of this CD is E-40, who wasn't exactly mr. flamboyant anymore by 2015. 

The reception to this album was... alright. I'm seeing mixed reviews on the internet, complementing Murs' rapping but criticising some of the album's production. I've already heard two of these tracks, and I really like both, but then again these are two of the most well-regarded on the entire album, so I'm not going to get my hopes too high. What I'm most hoping to get out of this project is simply a different take on the Murs formula - I want an album that pushes Murs out of his comfort zone, into doing something perhaps a bit different to what he kept putting out over and over in the early 2010s. It doesn't have to be perfect, but with any luck it'll at least be interesting.

Right. Let's do this. 

1. Have a Nice Life (prod. The Arsonist, co-prod. DOC)

Starting off with one of the two songs I've already heard, the title track of this album is also one that's going to be bloody difficult to beat when it comes to the best track on this album. The song opens with a nice drum loop that soon is complimented by absolutely beautiful piano, and a long-ass verse from Murs that happens to contain some of his best writing ever - I will always remember the bar "I don't wanna dye my grey, I don't wanna hide my hair; 'cause a lot of my homies died before they got there", one of the most poetic and goosebump inducing lines this man has ever written. The verse is also helped my Murs' delivery, which for the first time sounds tired and weary - he sounds like an old man, one who is ready to settle into a veteran status that he has very much earned, and it compliments the reflective and content subject matter within the verse. Instrumentally, lyrically, vocally... this is the best song Murs has made in a long while, and I would be shocked if we get something better than it here. I love this track. 

2. Surprises (feat. Ryan "Myagi" Evans) (prod. Bernz & Gianni Ca$h, add-prod. Danny "Keys" Perez)

After such a somber and melancholy opener, I feel like a turn-up track might have been appreciated here, but that's evidently not what Murs has in mind - clearly the rather depressing photography for this album is going to be representative of it's overall sound. I didn't have high hopes for this one when guest vocalist Ryan Evans begun his crooning chorus, but I will admit that the track grew on me as it played through. Murs tells two stories here of people that he grew up with who no longer want anything to do with him, and it's quite compelling - Murs' matter-of-fact style of lyricism has always been put to good use when storytelling, and this track right here is a great example of this. I also like the chorus quite a bit - rather than hopeful and irritatingly pretentious like most of these male R&B hooks rap albums utilise, this one is accepting and agreeable - "nothing surprises me no more". The generic trap beat isn't exactly a winner, but everything else about this song went down as well as I would have hoped. This is a good track. 

3. Mi Corazon (prod. Jesse Shatkin)

Probably the most radio-friendly sounding song Murs has ever made in his life, this tale of love with a near-death experience woven in (easily the most engaging moment of the track) is helped along by a beat and female-sung chorus that could easily pop up on radio 2 in your mum's car. I was half expecting to hear a "this is Heart" followed by a swooshing sound effect after the last ear-worming cry of "tell me that you're never gonna leave me", sung by an uncredited Raquel Rodriguez, passed through my speaker. Murs' storytelling on here is pretty nice, and the music is very competent... but it's very clear that the man is aiming for a completely different audience here to what he was on Good Music and Murs 3:16. Also, the whole Spanish element of this song was completely random and unnecessary. There, I said it. 

4. Woke Up Dead (prod. Jesse Shatkin)

Say what you want about Jesse Shatkin, but you can't deny that he's got diversity. After the previous attempt at making a song for the white women, here's a track from Murs that he actually seems to have made for himself - a track about PTSD-induced nightmares where he's getting murdered by people for who he hangs out with - the crips. Murs is no stranger to commentary on gang violence, and here his message is only accentuated by Jesse Shatkin's intense instrumental, that makes you nod your head til it falls the fuck off. It's a great beat, and Murs' rhymes are both engaging and socially relevant, which is a pretty great combo if you ask me. I'm a massive fan of this one. 

5. P T S D (feat. E-40) (prod. Curtiss King)

While the synth-heavy beat from Curtiss King was clearly made in mind with the intention of guest E-40, Murs makes a pretty good case for himself over this beat, proving that he can move away from his usual flow and still sound good. Seriously, Murs' vocal delivery and flow have been really nice throughout this album so far. As for E-40... he's okay, but the constant ad-libs are kind of off-putting to me, and don't really help convey the seriousness of his message well at all. The subject matter of this song is good though, and it's sequenced well - Murs goes from talking about his own trauma on the last song to that of others here, and it's a good choice. The track as a whole is good - would've been better with a verse from Tech N9ne though...

6. Okey Dog (prod. Jesse Shatkin)

I'm pretty sure that this is Murs' most streamed song, and the only other song on here aside from the title track that I've already heard prior to today. It is a good track, and you can definitely see why it's so popular, even if personally I think this album has a couple of better tracks so far (especially "Woke Up Dead"). The instrumental is bouncy and percussion heavy, and one that's very easy to dance to - meanwhile the repetitive chorus is an earworm without being excessively poppy like that on "Mi Corazon".  Also, Murs exhibits a talent only few other rappers (like Andre 3000) have exhibited in the past - staying true to his storytelling self whilst still being able to make a radio banger. On this track Murs talks about a gang banger that he idolised whilst growing up, and the potent storytelling is only emphasised more by the great video. Overall, this one is a big time banger of a track. 

7. Pussy and Pizza (prod. Jesse Shatkin)

Jesse Shatkin's sentimental beat doesn't really reflect Murs' lyrical content on this song, which is about how he'll fucking kill you if you don't provide him with women and junk food. Seems like a good philosophy for life. It's a shame that this song failed to really engage me - Murs' lyrics aren't exactly likeable on here, and the chorus isn't profound enough to be played so many goddamn times throughout. I didn't hate this one, as the beat was nice and Murs still sounds good, but this is the first song where Murs' occasionally corny immaturity is evident on this album. In short: ehh.

8. Two Step (feat. King Fantastic) (prod. Jesse Shatkin)

I think I've heard this one before as well, although it does sound very similar to "Okey Dog", so I'll forgive myself for forgetting that. This track aims to do exactly what that track does, which is make a West Coast-style synthy banger for the clubs, and it does a decent job - again, it has a repetitive yet potent chorus, and this time the addition of King Fantastic (damn that guy must spend a lot of time in front of the mirror) helps out the track, as the guy has that West Coast drawl that Murs is missing. The track does feel like a bit of a rehash of "Okey Dog", but on its own it's still a decent banger that I enjoy a lot. This is pretty good. 

9. No More Control (feat. MNDR) (prod. Jesse Shatkin)

I'm only just now noticing how much of this LP is produced by Jesse Shatkin. I mean, he's good, but it's no wonder why there's such a mainstream air about this thing. "No More Control" is an attempt at a protest song from Murs - he claims on the track to want an "educated street movement", and follows it up with the rather incredible lyric "it's fucked up what the police doing / but motherfucker, look what we doing". This isn't the first time a hip-hop artist has mentioned how gang violence is just as if not more detrimental to the black community than police brutality, but it is still a powerful note to end the track on. Meanwhile the instrumental and chorus from MNDR help bring the anthemic movement feel of the track home, and I actually found myself humming this chorus as I was writing this up. Despite myself, I really enjoyed this song. Fuck it.

10. Skatin Through the City (prod. Plex Luthor)

Murs takes things a bit more down-to-earth on this one, talking about his progression as a skateboarder over a relaxing instrumental that's actually one of my favourites on here, and one of the few that sounds like it was made with Murs in mind specifically, rather than any Strange Music artist who would take it. This track is one of the few songs here that you could actually chill out to, and it's very successful at this vibe too - Murs understands the assignment, and makes sure not to drop any clangers of bars throughout, which I commend him for - and this beat is nice as hell (the scratching is also appreciated). Despite the title being a bit iffy, I overall enjoyed this track a lot. 

11. Anyways (prod. Jesse Shatkin)

Another dodgy title? Jeez Murs, anyone would think you'd want the consumer to leave this one at the stores. And that'd be a mistake, because I was actually surprised at how well this turned out. The track is about Murs' resignation to the fact that him choosing to get into rapping rather than drug dealing, and live an ethical life whilst uplifting others, isn't going to stop his neighbourhood from being the drug infested place it has been since he's been growing up. He begins the track by telling us how his father left his mother in pursuit of drugs when he was very young, and how cocaine and other hard substances have plagued his friends ever since. Sure, he can stop taking them, but he feels helpless to the plights of others, and the rather sad instrumental certainly helps exemplify this emotion. The track has a feeling of hopelessness about it, and without a happy ending it becomes one of the more depressing songs on the whole record. Oh, and also one of the best. 

12. The Worst (prod. ¡MAYDAY!)

This track, which stood out to me on the tracklist because it shares its name with a certain Tech N9ne album, is all about Murs being unfaithful to his wife, because he can't help having sex with this woman who was at one of his concerts. Musically, this song is really good, and with some better vocals this chorus could have been one of the catchiest on the whole album (even though I fucking hated it at first). However, I can't fully get into this track, because Murs seems to act like his infidelity is only a problem because his life will be ruined if his wife finds out - he expresses absolutely no guilt about his actions in the entire song, and acts like the woman texting him in front of his wife is an inconvenience for him and nothing more. It's like he doesn't even think his wife has feelings. Sorry to come off as some sort of Karen here, but I just really dislike Murs' demeanour on this track. Still, musically... it's good. 

13. Black Girls Be Like (prod. Gianni Ca$h)

I appreciate the sentiment, but no. Just no.

14. I Miss Mikey (prod. Jesse Shatkin)

Carrying a very similar vibe to the opening track, this was actually a really sweet closer to this album, even though I do have issues with it. My main problem with this one is that both of Murs' verses only have twelve bars, which is an annoyance because it's always bars 13-16 that hit the hardest, and when the verse cuts off at bar 12 it kind of reduces the impact of the message for me. Still, I liked Murs' flow on here, and I really enjoy the instrumental from Jesse Shatkin. Overall, easily one of my favourite tracks here. Also, it was interesting to hear the "Straaaangeeee Music!" tag on the end - even though I said a lot of the beats sounded like a product of the label, Murs' presence and the lyrical themes made this album feel completely separate from everything else the label had going at this time. 

The following song is the bonus track available with the pre-order version of this album.

15. Fun-eral (performed by Felt feat. Ces Cru) (prod. Jesse Shatkin)

Easily the grimiest and most underground song on the album, it's easy to tell why this was relegated to bonus track status - despite Ces Cru's involvement, the Strange Music audience were more used to airy trap beats and futuristic synths at this point in time. On a Rhymesayers release this track would have been promoted better, as it should be, because it's really dope. I love Murs, Godemis and Ubi on here, even if Slug sounds like a random white dad they pulled straight out of an office cubicle into the studio (sorry if that sounds harsh), and we've got more record scratching here too, which is always a good thing. I really enjoyed this track, and the fact that it's not available on a CD pisses me right off. 

And so we come to the end of Have a Nice Life (*emits light chuckle*). And... I liked it quite a bit! I feel like Murs did what I wanted of him here and switched up his sound a bit, experimenting with lots of different styles of instrumentals and managing to work his magic over most if not all of them. He also made attempts to switch up his flow on here, which was very much appreciated, and managed to place guests in the right places, without having too many of them (something his label head at the time definitely couldn't relate to). Have a Nice Life isn't without flaws - some of these songs sound way too radio friendly to ever be appearing on a Murs record, some of these song titles make me want to vomit (I mean, "Black Girls Be Like"? That sounds like the title of a two minute racist YouTube video), and occasionally Murs does get a little corny. But on the other hand, his ear for beats seems to be pretty clear on this thing, with variation but still a cohesive sound to the project, and his lyricism is more potent than it has been on some previous releases, with lots of great quotes and messages to be taken away. The overall vibe of this project is one of loss, but also one of acceptance of the ills of this world, and it's a relatable release that I'm sure most of my readers would enjoy listening to. Sure, it's not his best, but what it does do is make me a bit more interested in the Murs catalogue yet to come. So mission accomplished, I'd say. 

Best Track: "Have a Nice Life"

Worst Track: "Black Girls Be Like"

Catch up on more of the ever growing Murs-athon here!

Mobb Deep - Hell On Earth

After releasing a classic album, an artist (or in this case, two artists) is faced with a pretty tough task of following it up. This is because there are pretty much two things you can do, both of which are guaranteed to have just as many naysayers as they have fans. You can either do something very similar to your classic, which could potentially be seen as repetitive and uncreative, or you can completely switch things up, and risk alienating the fanbase you created for yourself with that classic album. This is a position many artists in hip-hop have found themselves in, and perhaps none quite as much as Mobb Deep in 1996. After their alright debut Juvenile Hell, Havoc and Prodigy had released The Infamous in 1995, which in my opinion might be the quintessential '90s hip-hop album. The project not only had a brilliantly overarching message of animosity yet acceptance of the duo's violent lives in the streets, but it was also filled with some of the most haunting and intense instrumentals of the decade, and some of the most quotable and well-written verses too, especially from Prodigy, one of the scariest figures of the time in the genre. And who could forget the indisputable classics it produced - "Shook Ones Pt. II", "Survival Of the Fittest", "Give Up the Goods (Just Step)", "Hey Luv (Anything)" (wait no). The album was phenomenal, and left Mobb Deep wondering just what the hell they could potentially do to even match it, let alone top it. 

Well, what they did was take a look at the two options I mentioned above, and decided that with the correct calculations, they might just be able to pull off both of these simultaneously with just the one album. And so, in 1996, Mobb Deep released Hell On Earth, and... wow. 

All songs produced by Mobb Deep. 

1. Animal Instinct (feat. Ty Knitty & Gambino)

Immediately on Hell on Earth, Havoc lets us know that Mobb Deep aren't going to be doing too much switching up on this record - not only through his actual admitting that this album was going to be them making The Infamous again, but also through his instrumental and opening verse, the former of which is gritty yet cinematic, and the latter being violent, confrontational, and memorable, all in equal measure. I mean, Havoc's opening lines here could get stuck in your head for days. And it's not like these other chaps are slackers either, as they all continue the theme of violence and machismo, letting the listener know just what the fuck they are about to get themselves into. The structure of this song isn't the most interesting, and the instrumental isn't my favourite on the album, but as a whole package this is still a pretty damn effective way to open your album. But if you didn't like the almost classical sounding strings, I wouldn't worry - this song does sound quite different to a lot of the other tracks here. "Crime pay - but for how long 'til you reach your downfall??"

2. Drop a Gem On 'Em

The Mobb's infamous (get it?) retaliation to 2Pac's name-dropping them on "Hit Em Up", complete with one of the dopest and most iconic instrumentals of the entire '90s decade. I mean, have you heard this beat? The haunting pianos, the loud and in-your-face percussion, the ghostly female vocal samples that come in and out... shit, if I was Pac I would have been shook to my skin before the first verse started! And since it's Havoc and P in their primes here, you can expect the verses to be even more scathing, and that they are. Unlike on the first song, I do think Prodigy outshines Havoc quite a bit here, with one of the best verses on the entire record, but that isn't to say Havoc's performance is weak, because he held his own in there too. It's just that while Havoc gave the beat a firm talking to, Prodigy brutally slaughtered it, and it's mother too for good measure. His flow, his lyrics and his vocal delivery are all a significant improvement over those on the opening track, and probably over an amount of stuff on The Infamous too for that matter.  It's verses like that that make me never want to even try to rap again, since I'll inevitably never match it. In conclusion - this song is fucking incredible. 

3. Bloodsport

Easily one of the more underrated tracks on the album, this song very nearly matches the previous one in my opinion when it comes to haunting intensity. I mean, sure there's much less energy in this beat, but that can be a good thing - imagine this shit in your headphones while walking through the woods at night. Of course, you might go from dead scared to bursting out laughing when it comes to Prodigy's verse - I'm sorry, but some of the blatant homophobia in '90s hip-hop is just hilarious nowadays when listening in the world today. P's line "nigga get down, queer, stay down" is probably my favourite for sheer humour. Other than that, the rest of the lyrics on here are pretty damn great - once again, it sounds like they're dissing someone, and that someone could be one of many given the amount of disagreements Mobb Deep got into in this era. 2Pac? Keith Murray? It could be anyone. Still, I see it as one of those "if you think it's about you it probably is" situations, and it works well - this is another banger. I do wish they didn't repeat that final hook though, as that was a bit of overkill.

4. Extortion (feat. Johnny Blaze a.k.a Method Man)

Possibly my favourite song yet, thanks to the presence of the ever charismatic and incredible Method Man, who just does not miss on his guest appearances. Seriously, how the hell does he come up with this stuff? I'd say that so far, he has the second best verse on the album, after P's on "Drop a Gem On Em", and even then it's damn close. The instrumental on this one also helps with my positive feelings towards it, as it's funkier than some of the previous beats, with a dope-ass bassline and some ghoulish synths moving around over the drums in keeping with the spooky sound of this album. Havoc and P make light work of the instrumental, but it's Meth that really sends this one over the edge, with his wonderful flow and humorous lyrics that are actually a nice relief from the cold blooded threats of our two hosts. This is one of Mobb Deep's best deep cuts, and a classic that I wish more people knew about. 

5. More Trife Life

Following up one of my favourite joints from The Infamous, Havoc goes it alone to tell a most likely fictional but still very entertaining story about being set up by an ex-girlfriend he went to meet with. I won't spoil more of the story for anyone who hasn't heard it, but I will say that this is a really nice switch in subject matter, and this track feels much more directioned and focused than some of the other songs we've heard up to this point. Not to mention, the instrumental is also incredible, mixing intensive percussion similar to that on "Drop a Gem On Em" with the haunting instrumentation that reminds me more of "Bloodsport". While I don't quite enjoy this as much as the original "Trife Life", it does come close, and that tells you all you need to know about the quality of this one. 

6. Man Down (feat. Big Noyd)

This song is most notable for it's multiple shots aimed at Def Squad, with references to the group's "spaced out shit", and also to Redman's classic "Time 4 Sumaksion". Of course, P had addressed them before on The Infamous, but this is the first time he (and Big Noyd too) made it clear exactly who they were talking to, and also the first time the disses were in actual song form. As a big, big Redman fan I'm not as keen on these disses, but otherwise this is yet another top class Mobb Deep song, with one of the more loud beats on the album that once again feels straight out of a horror film - only this time perhaps more of a comedy one. The rhymes on here are some of the most memorable on the whole album too, and Big Noyd once again proves himself as easily the best Mobb Deep affiliate with a fantastic, very quotable final verse. This is another brilliant song. 

7. Can't Get Enough Of It (feat. General G)

Completely diverting from the harsh sounds of all of the previous tracks, Havoc's beat here sounds more sentimental and sorrowful, like the sort of thing you would see on those "Dead Homies" joints that rappers always feel the need to do. Oddly, however, the Mobb don't appear to switch things up much lyrically here, offering similar aggressive content to every other track - the difference here being that their vocals are given a sad and depressing air thanks to the instrumental. General G's feature on here is pretty fun, as his voice certainly stands out, and I enjoy the verses from our hosts plenty... but this is the first flawed song on the album, less because of the strange atmosphere of the beat, and more because of Prodigy's terrible sung chorus, which makes absolutely no sense on the song, and sounds corny as hell. Make no mistake, I still enjoy this song a lot... but don't ask me what they were thinking with that. 

8. Nighttime Vultures (feat. Lex Diamonds a.k.a Raekwon)

Isn't it amazing how so many instrumentals can have almost exactly the same feel, and yet all sound so brilliant and diverse? This track makes up for earlier's "More Trife Life", as while Havoc provides the hook, he has no verse, and instead leaves his spot for the second Wu-Tang member to appear, Raekwon. While his verse here is nowhere near as incredible as Meth's on "Extortion", I still like it a lot, and Prodigy does even better, with a verse that was surely a big inspiration behind Eminem's song "3 a.m.". There's not really too much to say on this one - it's just yet another really great song. 

9. G.O.D. Pt. III

Probably the scariest song in the entire Mobb Deep catalogue. Over the theme tune from Scarface and some phenomenally intense drums, the pair rip shit up with aggressive verses that fit just perfectly with this beat - I almost feel like this is the quintessential beat for Mobb Deep, despite the fact that "Shook Ones Pt. II" and "Drop a Gem On Em" exist. Perhaps my favourite part of the entire song is the drop in after the ridiculous skit at the start - those synths exude menace and paranoia, and almost make me want to run screaming for the hills as I hear them come in, that's how horrifying they are. Sure, the effect isn't as strong once you get about halfway through the song, but even then it never really loses its oomph, and the rapping always keeps things afloat - "horror tales in braille for the vision impaired" is a personal favourite line. Overall, this is easily one of the best songs here, and one of the best Mobb Deep songs full stop. What a banger. 

10. Get Dealt With

Dare I say it, one of the more chilled out tracks on this album, even if the rhymes typically will occasionally make you take a glance over your shoulder if you're bumping this in the street. One thing I think The Infamous has over this album is that it's not quite as one-dimensional - this album always felt a little too much in the same vein to me, and there are points where it feels like it's rehashing it's old ideas. Thankfully, this song keeps things fresh by having a more relaxed mood to it, and it works as a great shorter track in-between some of the more intense moments on the record. It's a dope one. 

11. Shook Ones Pt. I

There are many positives to living in the UK and not the US. Free healthcare, incredibly strict gun laws, no chance of being massacred by a bear, and so on. But perhaps the best advantage for us is that our Hell On Earth CDs came packaged with this gem, the original version of Mobb Deep's most notorious song. Of course, I'm talking about "Shook Ones Pt. I", which would probably be regarded as one of the best tracks of the '90s if it weren't overshadowed by its sequel. Whilst the chorus and Havoc's verse (the last third of which is performed by Prodigy here) are basically the same, Prodigy's opening verse is very different, as is the instrumental, which is more atmospheric and wavy, but at the same time just as gritty, as the original. Seriously, if you haven't heard this I'd check it out ASAP, as it's a worthy companion to Pt. II. What a track.

12. Hell On Earth (Front Lines)

The most notorious song on the entire album, and I guess you could say the emotional climax too, as this is the most somber and saddening track on the album - it's also utterly phenomenal. Let's talk about the beat first, which is a masterpiece. The drums are fast paced, but calmer than a lot of the others throughout this record, and keep a sense of urgency while still maintaining the depressing and bleak feel of the track. Then, we have the instruments on top playing the bassline and the melody, which come together to create a simultaneously relaxing and haunting musical backdrop for the MCs. This beat is masterful, and what's even more incredible is that the pair manage to do it justice, with some fantastic verses, and one of the more memorable hooks of the whole album. Inevitably, it's P who is the MVP of this one - his opening verse is enough to send you flailing off your chairs in astonishment, and when he comes back in for another verse at the end, you'll probably flail off again, cartoon-style. This man was truly a monster on the mic, and it's songs like these that prove this to full effect. R.I.P. Prodigy, man... . I cannot stress enough how much of a classic this track is - I envy those that will get to hear it for the first time. Damn this shit is dope!!

13. Give It Up Fast (feat. Nas & Big Noyd)

You know what could make this album even better than it already was? Nas. And that's exactly who they got, for this track that sonically sounds kind of like the first song, with it's cinematic instrumental that implements some orchestral strings (or at least I think that's what they are). Nas actually starts this one off (following the sound of a plane landing to tie into the story), and he does an excellent job as you'd expect from the greatest rapper of all time (in my humble opinion) - everyone else does their best to match his performance, with Prodigy coming out on top. Seriously, I think P may well have been the best rapper in the world in '96 - either him or Andre 3000. This isn't one of my favourite instrumentals on the album, and this track certainly isn't hugely memorable, but when you're listening to it it's as entertaining as could be. Great stuff. 

14. Still Shinin'

That title reminds me of another fantastic rapper from this year, Busta Rhymes, who had released a song with almost this exact same title months before this Mobb Deep record came out. I remember not really caring too much about this song when I was first getting into this album, probably because the beat is more soulful than menacing, which doesn't really fit the Mobb Deep sound in my opinion. Upon relistening today, however, I've gained a newfound appreciation for this song, which sees a more positive side to this duo, and seems more of a celebratory track than anything on this album or their previous effort. This song is a small island of positivity and happiness in a sea of murder and violence, and I very much appreciate it for that. I really wasn't expecting to enjoy that so much this time. 

15. Apostle's Warning

The final song on this album sees Havoc using a female vocal sample similar to on the last track, only this song fits more conventionally within this record sonically. Havoc's vocal presence on this track is barely notable though, as Prodigy's verse is far longer, and also goes into some areas which he hasn't explored yet on this album, such as the paranoia that he won't be able to see his child grow up as he'll be killed on the streets while his kid is still a baby. He makes you feel his words on this one, and it's one of the more powerful moments on the album - of course, this wouldn't be a Mobb Deep track without the murderous and violent moments, and there's plenty of that too ("I won't snap at you, I'm going for throats" comes to mind). This was probably the perfect way to finish the record off, with a nice balance of typical Mobb Deep with more introspective stuff. It's yet another brilliant tune.

Some pressings of this album came with a bonus track titled "In the Long Run", but sadly I don't own that particular version. Once I've located this track, I'll come back here and review it. 

Coming off of Mobb Deep's previous record, this album had some pretty planet-sized boots to fill, and while I personally prefer The Infamous, since it's a little more diverse and quotable (and also obviously more innovative), I would completely understand someone saying that they preferred this - that's how incredible of a follow up it is. On this album, Havoc took the sound of The Infamous, muted any jazzy and funky inspiration that album took (whilst throwing Q-Tip out of the studio like Jazzy Jeff), and then turned the horrorcore right the fuck up, making for an even darker and bleaker listen that is ideally played whilst sitting on a rock in the middle of Venus during the summer months, when all the lava is bubbling up around you. Not just because this album feels like that, but also because that would help match the paranoia and fear that this album succeeds in expressing to the listener, in a similar way to The Infamous. I do feel that this record fails in bringing across the violence as a bad thing, which is very clear to me on The Infamous, but that's alright - this record works as a perfect companion to that album as an insight into the minds of killers in their darker moments, when they really do feel the motivation to kill and torture. Sure, the album is called Hell On Earth, but a lot of the time Havoc and Prodigy make their surroundings sound more like their personal heaven, with the amount of passion that goes into their diatribes here. And how could I possibly end this review without talking about Prodigy, who ups his game here even further than on The Infamous. Havoc is perhaps less essential on this album, but the best Prodigy verses here are his best full stop, and there's a couple that could legitimately stand as top ten rap verses of all time. This album isn't just the follow up to The Infamous - it's an incredible piece in its own right, one that aims to delve even further into the mind of a gang member on the streets, and does this successfully through some incredible rapping, and some similarly incredible production. Don't ask me how Mobb Deep managed it, but with Hell on Earth they actually created a worthy follow up to The Infamous. And if that doesn't set them firmly in place as hip-hop legends, then I don't know what the hell could. Thanks for reading!

Best Tracks: Drop a Gem On 'Em, Bloodsport, Extortion, More Trife Life, G.O.D. Pt. III, Hell On Earth (Front Lines), Apostle's Warning

Worst Tracks: Can't Get Enough Of It

Catch up on more Mobb Deep write-ups over here!

The Lil Wayne discography, pt. 3 - 500 Degreez

God, I don’t want to do this.

You may remember about four months ago I reviewed Lil Wayne’s first two albums, Tha Block Is Hot and Lights Out, starting a run through of the guy’s discography that I’ve wanted to do for a while, since I hoped his catalogue would dissuade me from my previous opinion that his music was overhyped commercial crap.  Unfortunately, these two albums didn’t really do that at all. Weezy’s debut was pretty terrible, sounding like it was made on a budget of £4 including food and water for the engineers, and while his sophomore record just about worked for the most part, it still didn’t work quite well enough to convince me that I liked the guy. Sure, his ear for beats seemed to have been cleared out, but his subject matter and lyrics were just as goofy and try-hard as on his debut. The only thing compelling me to continue this catalogue is the fact that it’s supposed to get a lot better, with the releases of Weezy’s Tha Carter albums throughout the mid to late 2000s.

Unfortunately, before I can get to that, I have to listen to this. Bloody hell.

Wayne’s third studio album, 500 Degreez, is notable mainly for beginning his infamous beef with fellow Cash Money spitter Juvenile, who was sadly the only member of the crew to actually provide decent guest appearances on the first two Wayne albums (he also made the BEST Cash Money track, “Back That Azz Up”, and you can fight me to argue that one). Speaking of “Back That Azz Up”, that song had appeared on an album called 400 Degreez, and so obviously Wayne naming his album a 100 degreez above that insinuated that he was the “hotter” member of the crew now. Which was true, but obviously Juvenile didn’t like that one bit.

Other than that small piece of history, however, this album is largely forgotten in the Wayne discography, even when compared to its predecessors. Whether that is a signifier of the album’s quality or not… well, I guess I’ll bear the burden of finding that out. But I should say that I don’t exactly have high expectations for this one. I mean, goddammit Wayne – could you get some new producers for once??

And so, as a punishment for not doing any revision over the Christmas holidays (or more accurately, another way of procrastinating from said revision), here's my first reaction to Lil Wayne's third studio album - 500 Degreez.

All tracks are produced by Mannie Fresh (a moniker that will surely become less and less convincing with each passing track), except where noted.

1. Fly Talkin'

This intro is hilariously terrible, and doesn't sound like what you'd expect from the album cover at all. Still, that doesn't mean I ever want to hear it again.

2. Look At Me

For the instrumental on this one, it seems like Mannie attempted to impersonate a Neptunes beat, only without any of the class or the actual instrumentation. I could make a better beat than this. Still, at least Wayne sounds pretty good on here, with a nice flow, and vocal mixing that really makes you feel like you're in a club in the early 2000s. The beat sucks, and the chorus is also pretty weak, but at least this isn't as bad as a lot of what was on his debut.

3. Way Of Life (feat. Big Tymers & TQ)

The lead single for this album, notable for the obvious influence it takes from 2Pac's "Hit Em Up", something that at least makes this track a little bit entertaining - this beat rides along nicely, even if it is a bit soft and anticlimactic. Birdman and Lil Wayne's back and forth is also reasonably entertaining, and while TQ on the chorus is painfully mediocre, it's still not the worst male R&B contribution to a Wayne album. Still, I'd be lying if I said I actually liked this one - it just feels like generic radio bullshit to me. Literally nothing about this makes me want to come back to it. I'm sorry, but I just can't bring myself to enjoy this. 

4. Big Tigger Live On The Radio

Self important skit, but then again this is a rap album, so what did I expect. And damn the music in the background here is good!

5. Gangsta and Pimps (feat. Baby)

The first song on the album to have a beat that I actually would describe as "good" (the previous skit doesn't count) comes on this joint with a misspelt title (well, I'll assume it's misspelt). Of course, the song itself isn't that good, as the chorus from an uncredited Jazze Pha is easily the worst thing on the album thus far, but at least they got close. Because yes - Wayne doesn't sound too bad here, and Birdman does an OK job too (I still find it hilarious that he used to actually call himself "Baby"). The verses over this beat sound great, which proves to me that these guys are capable of making a good song - it's a shame they ruin it with a trash hook, and a complete lack of lyrical substance. Also, that song title is making me cringe more and more by the second, so I'd better move on now. 

6. Lovely 

Following up a song entitled "Gangsta and Pimps" with a song called "Lovely" might be the most hilarious thing Wayne has ever been involved in, not counting his live performances and claim that he was "the best rapper alive", of course. This song is anything but hilarious though, largely because it is quite easily the worst song in the Wayne discography so far. From the terribly cheap and hollow instrumental, the disgustingly bad chorus, and Wayne's rambling lyrics and flows, everything here screams "cheap, effortless tat". Surely not even Wayne's biggest fan enjoys this song. This sucks, man!!

7. Gangsta Shit (feat. Petey Pablo)

I was quite looking forward to this one, since it appeared to be a fan favourite on the album, but unfortunately it presented me with pretty similar problems to every other song here. It sounds cheap, the chorus is terrible (this time not even attempting to be catchy) and the subject matter is redundant as all hell. Petey Pablo's opening verse is merely alright, meanwhile, Wayne does his best to convince me that he's going to kill me if I mess with him, but in his stupid goblin voice that he seems to use on every other goddamn track, completely ruining the intended effect. My favourite part of this song was the outro, where the beat felt a little more energetic for some reason. Overall, however, this song dissapointed me - it's sure not the worst song here, but I don't really enjoy it much either. 

8. Big Tigger Live On The Radio

A continuation of the last skit, only without the obnoxious self-love. These skits are surprisingly good. 

9. Bloodline

At first, I was really ready to call this song trash, as the beat initially sounded so devoid of depth, and Wayne sounded tired as hell on this track. However, soon I kind of got into the vibe of this one, and by the end of the second verse I was ready to say with confidence that this was the best song on the album so far. Because goddamn, I actually liked this one. Sure, Wayne's lyrics still aren't impressing me, but the groovy, chilled out beat certainly had me in a nice trance, and the chorus is catchy as hell - also, Wayne's voice fits perfectly over this beat, and the line "Nod your head to this bitch til it fall off" (not rapped, just spoken) actually made me smile. I hope there are better tracks to come, but at least I can say that I fully enjoyed one track on here. 

10. Where You At

Goddammit Wayne where was this guy from tracks 1 to 7?? Not only is Mannie's instrumental on this track absolutely banging, with harsh keys and instruments that don't sound hollow as Snoop Dogg's head for once, but Wayne actually brings the flows and lyrics, and sounds angry as hell on this track. He was right about me not wanting to hear more - this is pretty much as good as I think this album is gonna get. This song is just a hardcore banger, and that's enough for me. Great stuff. 

11. Worry Me

I think I've discovered one of the many problems with these early Wayne albums. While the last two tracks didn't suffer from this issue, this song and many others incorporate these nursery-rhyme ass melodies into the instrumentals, which then completely disregards Wayne's general message, which is almost certainly about how he is going to kill you, whilst simultaneously drowning in money and having sex with your girlfriend. This song is a prime example of this, which is another way of saying that it was terrible. Sorry!

12. 500 Degreez

Ah, just what we needed during these dire times - a title track. The sinister air of the production and Wayne's slick flow meant that I just about enjoyed this one, but that doesn't come without it's consequences. Sure, the vocoder thing on the chorus sounds cool, but that doesn't change the fact that you'll probably burst right into laughter as soon as you hear what he is saying. Still, I enjoyed the dark feel of this track enough to say that it's a highlight here for me. 

13. Go Hard

Originally, I was gonna rip on the squeaky delivery of "Weezy Baby" at the start, but as I slowly made my way through the rest of this song, I realised that that would be like taking a plate of raw meat and rotten potatoes, and criticising it for being served on a chipped plate. Also, this beat makes my head ache. If I was a cynicist, I might observe that the amount of songs I've thought about skipping through less than a minute in on this album is probably signifying that this discography dive was a mistake, but thankfully I'm not, so I'll just say that I haven't quite got into him yet. Still, this album is really tiring me out. 

14. Young'n Blues

Well, I never thought I'd hear Wayne act like an actual human on a record, but here we are. (Just kidding - he did have some more emotional cuts on the previous albums, not that I can remember their names right now). This track sees Wayne showing remorse for his treatment of his baby mother, and how now he feels alone and like none of the women he is around really know him. The chorus on this song absolutely blows, and is seriously one of the worst on this entire album, but still, having some actually engaging lyrical content and a nice message meant that I was able to enjoy this song a lot. It's a decent song, but bear in mind it's not exactly being compared to the pinnacle of hip-hop here. 

15. Believe That (feat. Blaque & Mannie Fresh) (prod. Jazze Pha)

Holy hell this song was bad. I'm not sure if it's quite as bad as "Lovely" from earlier, but it's close, and that should tell you all you need to know. The amount of times the words "believe that, daddy" are repeated in this song - by a group of grown men!!! - is enough to drive any casual listener insane. The hell was this??

16. Rob Nice Live On The Radio

Okay I didn't like this skit as much as the others. 

17. Fuck You (feat. Big Tymers)

Were there no other good rappers that Mannie could have given this beat? While the instruments once again sound cheap as hell, the melodies themselves on this instrumental along with the drum pattern create an aggressive, intense atmosphere that is perfect for the confrontational title of the track - it's just a shame that Lil Wayne, Birdman and Mannie Fresh decided to rap over this one themselves, and are terrible. I still like the title and the beat, but this track has some serious wasted potential, man. 

18. What Does Life Mean To Me (feat. TQ & Big Tymers)

Can these guys just fucking shut up already??

19. Get That Dough (feat. Baby, Tateeze & Cristale) (prod. Jazze Pha)

I was complaining about Mannie Fresh, but if the other producers available to Wayne are this awful then you can't really blame him for only working with the one guy. This beat is stagnant and completely forgettable, and while the perspective of some female MCs is refreshing, Birdman's presense certainly isn't. Wayne isn't on this song enough for me to care anyway, so I think I'll just move on to the next one. 

20. Fo Sheezy

It seems the generic song title generator is working wonders for Wayne on this album. It's a shame his pen game isn't - beside one diss towards Juvenile I found absolutely nothing worth of writing about here. Oh, except for the constant misogyny that completely disspells anything he said on the somewhat decent "Young'n Blues" from earlier. It seems that Wayne doesn't even bother sequencing his own albums. Well this sucked.

21. Fly Talkin' Go Home

A long, underwhelming waste of my time. Kind of like this album, come to think of it. 

It's not that I hate Lil Wayne or anything - my review for Lights Out should alone prove that. But I do kind of hate a lot of his early music. It just feels to me like every single goddamn album so far has been almost completely devoid of humanity or introspective content, and has instead been entirely stuffed with songs about drug dealing, murdering, having sex with people's girlfriends and being inexplicably rich - pretty much every characteristic of hip-hop that leads to it getting a bad name, despite the fact that there's a ton of great music without any of that content that people are missing. Of course, I have to understand that Wayne knew what he was doing and was just trying to make the money to feed his kid by creating the music the mainstream supposedly wanted, but that doesn't change the fact that this album's constant barrage of macho attitude makes it a slog to get through, and resulted in me often tuning out from Wayne's actual lyrics, whether that be on purpose or not. Of course, this wasn't usually a good idea, because Wayne is actually the best part of this album. As usual, most of Mannie Fresh's beats sound cheap and nasty, like they were made on the 2002 equivalent of GarageBand, and the constant loops and lack of switch ups make every song a bloody pain to get through, especially when they're all at least 3 and a half minutes long, some stretching to 5. And don't even get me started on these choruses - there are about two on here that actually work, and more that actually ruined a song's chances of being quality (looking at you, "Gangsta and Pimps"). The rest were just little bits of shit in a sea of sewage, which is harsh, but kind of how I feel about most of this album. This project represents the bling era perfectly - the only issue being that it was about four years too late for that and didn't really end up making Weezy a household name - ironically, Juvenile's 400 Degreez was actually a far more successful record. Thankfully, Wayne's albums would soon transition into his Tha Carter series, which, God help me, is supposed to be actually good. So, I'll catch you all next time, as we dive into the really important part of the Lil Wayne catalogue. Peace!

Best Track: "Where You At"

Worst Track: "Lovely"

52%

Check out more on Lil Wayne over here.

El-P - Fantastic Damage

Thanks to the Murs-athon (which I will update in due time, don't you worry), I've been digging deeper and deeper into the underground hip-hop scene recently, most specifically artists from the Definitive Jux roster that was so prominent in the early 2000s, before it dismantled around 2009 along with the musicality of all hip-hop legends (with the exception of Nas - Untitled was a pretty great record if you ask me). Unlike our genre, however, Def Jux failed to regain its footing in the 2010s, which was a shame, as it was a damn good label - it was once home to Aesop Rock, Cannibal Ox, Murs, RJD2, Cage (okay, maybe we can forget that one), and many other artists whom had a lot of influence over the nerdy underground hip-hop sound, and were just very good MCs (or producers) in general. And yet, despite some of these big names on the label, to me it's very clear who the most forward thinking and talented member was - head of the label himself, El-P. 

After the break up of his group Company Flow (who's fantastic debut I've already covered on this site), the subsequent formation of his new label, and the release of the highly praised Cannibal Ox album The Cold Vein, El decided it was finally time to take his next step as a musician, and record a solo album. He commissioned quite a lot of featuring MCs, just for a lot of them to do very little on the tracks, Dan Ezra Lang for the brilliant album art, and a bloke named DJ Abilities to do all the turntables to give the album even more of an underground feel than it already would have had. This left the majority of the rapping and producing up to El-Producto himself, but this was no problem - he already did that with Company Flow's Funcrusher Plus, which was brilliant, and as he states so boldly on this album, he can "produce and rap too". 

The album, entitled Fantastic Damage, was released in May 2002, and for some reason a lot of people assumed it was all about 9/11, even though I'm almost certain it's a known fact that he recorded almost the entire thing before 9/11 actually happened. Still, I definitely didn't hear it back on its release date - I wasn't even born back then. I only listened to it for the first time around August, and subsequently never really stopped listening to it, for reasons that'll become very clear soon. Still, I don't really like giving away the endings of these reviews in the first couple paragraphs, so before I go ahead and spill my thoughts surrounding the album again, let's jump into the track by track. God, I am excited to do this. 

Every song is produced by El-P.

1. Fantastic Damage

After an incredibly intense and stellar build up that would get any sane listener ecstatic about getting into the album, El's ridiculous beat drops into a very glitchy and abrasive verse that has El apparently recording every line seperately, and then layering them all slightly on top of each other - I mean, god forbid you try to rap this verse at home. Despite the very odd and disorientating layering on here, there are some really dope lines - "you need to haul that mega dumb style to the antique roadshow, bitch" and "please try to compartmentalise my dick, with a little bit of that bitch hubris" standing out the most. Also, El's delivery feels even firmer on this song than it did on Funcrusher Plus, and I think I already mentioned the beat being absolutely banging. The album definitely does get better from here, but this is still a damn good opener. If only the verse could have been recorded as one...

2. Squeegee Man Shooting

A more conventional hip-hop banger shows the listener that not everything will be as overtly "experimental" as the first song - this track could have showed up on a lot of hip-hop albums of the time if the beat was a bit more simplistic. I'm glad it isn't, though - this beat goes crazy, with heavy and airy electronic drums and bass supporting the schizophrenic synths frequently layered on top, which just sound fantastic. El's flow here is far less manic than it was on the opening track too, as he spends the majority of this cut talking about his past, and how he eventually grew up to be the man he was. Most rappers would save a more sentimental beat for a track like this, but not El apparently. The title is also pretty interesting, in that it doesn't seem to relate to the subject matter of the song despite El bringing it up for a short time in the first verse. Still, I don't think anyone will be focusing on the title when the music is this good. This is a fantastic banger, and the chants of the album title at the start and end make for some of the catchiest refrains on the entire record. 

3. Deep Space 9mm

By far the most notorious cut on this entire album, and for good reason too - this song is bloody mental. After a drawn out echo ended the previous song, this one drops right in, with a sound that can only be described as "dusty" - the drums at the beginning sound like they were pulled straight out of a dark sewer in a New York alley, especially the ferocious snare pattern that just keeps popping up. There are also some loud and dramatic synths in this beat, but they only come in before and after the lengthy verse that makes up the majority of the song - otherwise the only glimpse past the drums and deep bass that we get is the occasional dark yet glittery sound effect, which I must say sounds nice as hell. The verse on here is more abstract than those on the previous two songs, but it's pretty easy to work out El's general message, which is that the country America is pretty fucked up. That does seem to be a prominent theme in underground hip-hop, doesn't it? I was going to bring up some great quotes from this song, but I don't think that's possible - every single line is just phenomenal. I guess that last line sums the theme up best. "For the love of god run". Damn. This song is an easy 10/10 for me, and the perfect tune to listen to whilst walking in a dark, cold, crowded area. Seriously, try it.

4. Tuned Mass Damper

Another pretty confusing song, perhaps more so even than the previous one... but all that does is keep this album getting more and more interesting. The subject matter on this one isn't exactly clear - the first verse appears reasonably directionless, as it laments on El's drug use, disses his contemporaries, and drops the infamous "I dedicate this to Matt Doo / my name is El-P, I produce and I rap too". I guess it could be talking about all of the fucked up shit that happened to him making him want to do drugs (with a few diversions in there), but I'm not entirely sure. The second verse is more directly aggressive, rapping about how El has reached the end of his tether with the corrupt government or something like that. The beat helps keep things in check though, since it's fucking incredible - it keeps a moody yet intense atmosphere, and I love the way it gradually builds up throughout the song - the Kool G Rap sample break in the middle sounds great too. This is yet another brilliant song - this album is seriously bloody good, as you can tell. 

5. Dead Disnee

I believe El stated somewhere that this song was about how the corrupt government is similar to Disney World, which killed some people and threw them off of the grounds so they couldn't catch the blame for it. The aggression of this track would certainly act as testament to that theory, as El's anger shines throughout this track, over a dark yet very fast-paced instrumental that is musical heaven to an experimental hip-hop fan like me. This beat is utter perfection, as are the verses, where El-P not only kills a bunch of Disney characters, but also airs out other demons, like the forced change of his label's name from "Def Jux" to "Definitive Jux" - the fact that Def Jam heard about El at all would surely be more likely to make El happy that he got the recognition, but I guess our minds must work differently. The best lyric here has to be that "hand me the contract and back away slowly" - that just sounds fuckin' badass. This is yet another absolutely incredible song. Jeez.

6. Delorean (feat. Aesop Rock & Ill Bill)

The first collaborator on this album comes in the form of another absolute legend who's music I've recently started exploring, Aesop Rock. Nowadays these two aren't speaking for unknown reasons, but back in the day they made for quite the pair, with their incredibly unorthodox flows and often abstract lyrics. Their collaborations are always great, and this is no exception, as El-P and Aes ride this incredible instrumental with precision and impossible-to-interpret lyrics inter spliced with incredibly memorable quotables, which is often the norm for them both. Such quotables include "freeze dried poltergeist: just add water" and "these faggots hit like teddy bears thrown against wooden walls by a misunderstood teenage girl in a moment of self-importance". And my god is that instrumental incredible - it somehow sounds simultaneously bleak and rich, and has some of the dopest and weirdest sound effects we've heard on this album so far. El also throws us for a curve in the middle of this song with a weird scratchy break down featuring Ill Bill doing some not so ill freestyling, but you won't care about this unusual diversion in the greater scheme of this track - the overall package is truly excellent. "Doc! We need to go back in time to when motherfuckers could rock!"

7. Truancy

Another cut which attempts to delve into El-P's past, and another brilliant song as well. What a surprise, eh? This song builds up slowly throughout, as El talks about his childhood, and also some of the more recent happenings in his life, such as the whole debacle with Rawkus Records (there was also a pretty tame and inconsequential line about that on "Deep Space 9mm" that I'm sure no-one remembers). The instrumental on here does feel a bit softer than everything that has come so far, and with that in mind I'd say this is the weakest song yet, but it's still bloody good. El's storytelling is nice, and when all the guitars come in at the end it's enough to make any man tear up, especially me on my first couple of listens of the album. If the production was a little more varied throughout I might have enjoyed this one even more. The instrumental break on the end with the scratches is nice as hell too. Dope stuff. 

8. The Nang, The Front, The Bush and The Shit

El-P's commentary on war, and his dislike for the propaganda used to recruit soldiers into the army. This is also possibly the best track on the entire goddamn album, or it would be if it weren't for the fact that almost all of these songs are fucking top tier. I mean, Jesus this one is good. It starts with some sinister and airy sound effects with El rapping, before the drums drop in and we get one of our more chilled beats, albeit one with a "calm before the storm" feel - you just know when listening to this part that some shit is about to go down. In this verse, El tells the story of how a man was convinced to join the army through false reasoning, before jumping into a fun chorus and reverting to some of the lines from the beginning of the verse. When El says the word "chopper", however, the beat suddenly drops out, and a darker, scarier one starts, before building up into a stupendously aggressive instrumental that El rips the shit out of, describing all of "the shit" he sees whilst at war. It's pretty impressive, and is helped by the excellent beat in the background. The song is intense, and the calm instrumental at the end was a much needed relief moment, but El really did capture the anger he felt against war and the army perfectly on this track. It's easily one of the strongest songs on this album.  

9. Accidents Don't Happen (feat. Cage & Camu Tao)

Okay, so apparently this was the only song on the album written after 9/11. That's pretty damn interesting if you ask me. Anyway, this track is one of the more intensely paranoid cuts on the record, with an electronic beat, and lyrics about the artist's visions of a dystopian future broken up by snippets from the film 1984. Out of the three artists, I think Camu Tao actually had the best verse. Sure, El's was long, but it definitely isn't one of his best on this album, and Cage is pretty good, but Camu's slightly insane delivery teamed with his directly dark lyrics are just perfect over this terrifying instrumental. And my god is this beat good - it's one of the darkest on the whole album, and all of the rappers fit perfectly over it. The lyrics are also really great. This isn't one of my personal favourites on the album, but I'd be lying if I said I could find notable flaws in it. This is another fantastic song. Damn, the title of this album is apt. 

10. Stepfather Factory

When I first heard this song, I was simply stunned. And listening even today, I still am. This has to be one of the most engaging and harrowing songs in the history of recorded music. On the track, El plays a salesman who is doing some sort of commercial (or perhaps talking to an individual family), attempting to sell a robotic stepfather, who is later revealed to have all of the traits El would associate with one - it is a violent alcoholic, just like El's real stepfather. The instrumental on here is dark and haunting, and El's nonchalant delivery of his lines just makes this song that much darker, as it shows just how desensitised to these sorts of incidents El has become. Some of these lines are incredibly clever too. "Under warranty for at least ninety days so have fun" - at first, a stepfather seems like a nice guy, but once he gets settled in and has the mother in his power, he shows his nasty side. "The cheapest way to keep his battery running is with booze". And, of course, the final couple of lines. Perhaps the most horrifying moment of this song is the robotic voice on the outro asking "why are you making me hurt you? I love you". That shit is just fucked up. This song is fucked up. But it's also utterly masterful, and one of the best songs of all time, no doubt. This is incredible. 

11. T.O.J.

A love song, El-P? Whatever next. This song is about a relationship El had obviously been in where it eventually broke down, and it really hurt him, but he learned to push through the break up. The first part of the song is melancholy and sad, as El is clearly in a dark place following this break up, and it has obviously hurt him a significant amount. He talks about time being out of joint, and also about how he had never really been able to love before this one woman, and he doesn't know if he'll be able to again. However, the instrumental soon switches up, and while it's even darker at first, it soon builds up into something dramatic, and El comes to the realisation that the break up was good for both him and the unnamed woman, and he can take good things away from it. The track perfectly exemplifies the emotions felt when going through a break up, and is also helped by its incredible musicality and poetic lyrics, some of the strongest on the record so far. This is another easy standout. 

12. Dr. Hellno and the Praying Mantus (feat. Vast Aire)

After the wildly emotional ride of the previous four or five tracks, this song serves as a fun break from the intensity of the album - over a largely percussion based beat that sounds like a Funcrusher Plus throwaway without the menace, Vast hypes himself up, whilst El describes a dirty and disgusting sexual experience in great detail for his verse. On paper, you'd think that this would be a terrible mood killer for the album, but it's anything but - this song is fuckin' hilarious, featuring one of El's most laugh-out-loud verses, and intentionally so - the final shout of "why don't you write a review of my ass" suggests that this is intended to throw the critics for a loop. This isn't the first time El denounces music critics on this album either - fuck me, I guess. I mean, joke's on you El, because I actually love your music. Including this song - sure, it's kind of silly and nowhere near as experimental as the rest of this album, but it's still a welcome tune, and puts a smile on your face amongst all of the harrowing diatribes heard throughout this project. I love this one.

13. Lazerfaces' Warning

This is the first song on the album that I originally wasn't really a great fan of. I'm honestly unsure of why now, as I can safely say that this is another incredible cut. I think it was mainly the beat in the first half I had issue with, which admittedly does have a weird airy vibe that feels a bit too clunky to fit on this album, and feels more dramatic than some of the denser beats that have plagued this album so far. The rapping over this beat is dope as hell though, as El displays excellent lyrical skill, lamenting on a bunch of things he thought about whilst tripping out in the back of a car on shroomz. The little switch up in the middle with the female vocals sounds excellent, and the second verse on here, while short, is a really interesting commentary on the Woodstock disaster, as well as the general disarray of modern media and youth culture. This track isn't my favourite on the album, but it's still really enjoyable, and El's rapping remains top notch. 

14. Innocent Leader

This instrumental interlude is another come down moment on the album, and while I like it, I think it could have been shortened and put on the end of "Lazerfaces' Warning" like the other instrumental moments. Still, at least it sounds good. That's the main thing. 

15. Constellation Funk (feat. Nasa of The Presence)

This song is an interesting moment on the album. The lyrics feel like El is finally coming to terms with all the fucked up shit that inspired the creation of this album, and is ready to move on, and there are definitely some great lyrics throughout this song that exemplify this idea. "My family grew without manhood in its structure / and we were stronger for that fact I do believe so / we held our own against some fucking evil people" is arguably the best moment lyrically, but there are loads of quotables throughout this, arguably more than on the previous actual song. Still, I would probably have this as my least favourite song here. I mean, it's close, but I just think this beat doesn't quite match with the lyrics, and should have been less dragging and sluggish. That weird, warped synth doesn't help either. NASA shows up just for the hook, and does a good job, but even then I'm really not one to give a fuck about star signs, so that whole aspect of the track throws me off. So yes, El's verses are enough to save this one by being incredible, but it still does have glaring issues compared to these other songs. It's good though.

16. Blood (feat. Mr. Lif & C Rayz Walz)

I distinctly remember this being my least favourite song on the album on my first few listens, but what I didn't foresee was how much this one would warm up to me - now I love it as much as the rest of the album. I think the reason I didn't initially like this one was because it was too hopeful sounding to end this album, and I was looking for something dark and disturbing to finish the record off. This being chosen as the final song was annoying to me, but after I accepted that El had indeed to chosen to sequence it there, I started to see the song for what it was - a really great positive track that's inspirational and also really well executed. I mean, the production on here is utterly incredible, with echoey drums and pounding synths that put it up with some of the best beats of this record. Meanwhile, El-P and Mr. Lif drop sentimental verses with incredible flows, and the brilliant line "I saw the dream float slow through the soluble haemoglobin", one of the most powerful moments on the record. Sure, the singing from C-Rayz isn't perfect, but I don't even mind his part. And the outro to this song might be the best moment, as the echo on the drums gets more pronounced and the synths switch up a bit to conclude the record. It's enough to give anyone goosebumps. This is a wonderful way to end what has been one of the greatest album experiences of all time. 

Well damn! Despite the quality lapsing ever so slightly during the last four songs or so, I can say with confidence that Fantastic Damage is one of the greatest hip-hop albums of all time, and just one of the greatest things anyone has ever made full stop. I mean, after Funcrusher Plus you wouldn't think El could top it, but you'd be very wrong - Fantastic Damage adds more experimentation, more quotables, more thematic variation and more El-P rapping to make for an even better experience - arguably a perfect one. From the album cover, to the production, to the rapping, to the goddamn mixing, everything about this album screams dystopian themed quality, and the album has just enough emotional climaxes to go alongside the bangers and the more chill tracks. I mean, "Last Good Sleep" is more brutal and haunting than anything on Fantastic Damage, but on the other hand "Stepfather Factory" and "T.O.J." express more emotion and creativity, and "The Nang, The Front, The Bush and The Shit" is arguably even angrier. I mean, "Last Good Sleep" is as good as anything on here, but the fact that it's not necessarily better is testament to just how powerful this thing is. Of course, extreme sadness and anger isn't always going to make for the best music, but El makes sure that there are some fun bangers on here too, like "Delorean" and "Dr. Hellno and the Praying Mantus". There are some aggressive, gritty slappers on here too, with "Dead Disnee" and "Deep Space 9mm" standing out in that department. Oh, you want something a bit calmer? Try "Tuned Mass Damper" on for size. That's the thing with this album - despite El's productos all having a lot of basic elements in common, like abrasive drums and constant weird electronic sound effects, they all manage to differentiate quite clearly from each other. And they also make for perfect backdrops for his rapping, which is just as unique, weird and dark as the music behind it. And listen to "T.O.J.", and tell me this man is not a poet. I mean, that song is the fuckin' shit. Fantastic Damage is one of the most emotional, most disturbing, most banging albums I have ever heard, and thanks to having all of these qualities in their most potent form, I can safely say that this album is an easy classic, and one of the greatest of the 2000s. El would have a hard time matching this one, but rest assured he would try - in 2007 he released I'll Sleep When You're Dead, an even more ambitious follow up to Fantastic Damage. And I'll look forward to reviewing that in future! Peace. 

Best Tracks: all of them. Just all of them.

Worst Tracks: I guess "Constellation Funk", but it's still great

Check out other things I've written about El-P over here!